Wouldn't it be loverly? Kelli O'Hara:
In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw's plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. They quickly realized, however, that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble.[3] Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.[4]
During this time, the collaborators separated, and Gabriel Pascal died. Lerner had been trying to musicalize Li'l Abner when he read Pascal's obituary and found himself thinking about Pygmalion again.[5] When he and Loewe reunited, everything fell into place. All the insurmountable obstacles that stood in their way two years earlier disappeared when the team realized that the play needed few changes apart from (according to Lerner) "adding the action that took place between the acts of the play".[6] They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal's estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by MGM, whose executives called Lerner to discourage him from challenging the studio. Loewe said, "We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us".[7] For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.
When Lerner settled on the title My Fair Lady, he recalled that the Gershwins' 1925 musical Tell Me More was titled My Fair Lady in its out-of-town tryout, and also had a musical number under that title as well. Lerner made a courtesy call to Ira Gershwin, alerting him to the use of the title for the Lerner and Loewe musical.
Noël Coward was the first to be offered the role of Henry Higgins but turned it down, suggesting the producers cast Rex Harrison instead.[8] After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role.[9] Young actress Julie Andrews was "discovered" and cast as Eliza Doolittle after the show's creative team went to see her Broadway debut in The Boy Friend. Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements and the show quickly went into rehearsal.
http://en.wikipedia.org/...
When you have time, please do watch the Pygmalion in my first comment. George Bernard Shaw was a brilliant writer.